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| Preface | |
| Film Structure | |
| Elements of Film Structure | |
| Structure and the Camera | |
| Structural Design and Creative Choice | |
| The Camera and Human Perception: Cinema's Dual Capability | |
| Cinematography | |
| Collaboration and Previsualization | |
| The Essentials of Cinematography | |
| Cinematography and the Digital Domain | ... MORE |
| Visual Style and Design Quotations | |
| Production Design | |
| What the Production Designer Does | |
| Basic Tools of Production Design | |
| The Design Concept | |
| Production Design and Special Effects | |
| Acting | |
| Acting in Film and Theater | |
| Categories of Film Performers | |
| Method and Technical Approaches to Performing | |
| The Performer as an Element of Visual Design | |
| Performance, Emotion, and the Viewerrsquo;s Response | |
| Editing: Making the Cut | |
| What Is Editing? | |
| Linear and Nonlinear Systems | |
| Functions of Editing | |
| The Principles of Continuity Editing | |
| Alternatives to Continuity Editing | |
| Principles of Sound Design | |
| Sound in Contemporary Film | |
| Evolution of Film Sound | |
| Types of Sound | |
| Sound Design | |
| The Nature of Narrative in Film | |
| Story and Script | |
| The Turn to Narrative in Early Film History | |
| Elements of Narrative | |
| The Classical Hollywood Narrative | |
| The Viewer's Contribution to Narrative | |
| Film Genres | |
| The Western | |
| The Gangster Film | |
| The Musical | |
| The Horror Film | |
| Science Fiction | |
| The War Film | |
| Film Noir | |
| Modes of Screen Reality | |
| Realism | |
| Expressionism | |
| Fantasy and the Fantastic | |
| Cinematic Self-Reflexivity | |
| Hollywood International | |
| The Global Dominance of Hollywood | |
| International Influence of Hollywood Style | |
| Cinema in Multiple Contexts | |
| Animation | |
| Documentary | |
| Independent Film | |
| International Film | |
| Women in Film | |
| African American Film | |
| Film Criticism and Interpretation | |
| Table of Contents provided by Publisher. All Rights Reserved. |